A surreal psych-horror comic about one man's obsession with a generic macaroni product...
and the nerds who spy on him


Rhodes and Dempsey are a young married couple who are just getting started in life. They'd like to move forward with their own careers and goals, but they keep getting distracted by everything from cutesy video games to tasteless late-night shows about serial killers. Late one night, Dempsey comes home with a wild story about running into a jittery man at the grocery store who buys almost nothing but a generic macaroni product called "Krazy Noodles." Much to Rhodes' hesitation, Dempsey comes up with a plan to go spying on him the following week so that Rhodes can see him for himself. They might think they're just going on a funny little adventure, but neither of them have any clue how much trouble they're about to cause—not only for themselves, but the guy they want to stare at.

Meanwhile, Gideon wants to be left alone so he can build his noodle sculptures in peace, but his worst fears come true when he realizes that he's being followed around by two strange guys at the grocery store. It doesn't help that he's being haunted by a psychic vampire incubus named Gabriel, who pretends to be his best friend but encourages his worst paranoid tendencies. He already deals with suffocating anxiety—how will he cope with being viewed like a zoo animal?

Contains some violence and cartoon blood. Later chapters will depict body horror. Has mild innuendo, but no graphic sexuality or full-frontal nudity. There will likely be bare butts. Has heavy overarching themes relating to mental illness, paranoia, trauma, emotional abuse, and anxiety. Occasional vulgar language. 

There's not one right now. I currently update whenever I'm able because I've been pretty busy with life. 
Comments are always welcome!


Lutzbug is a cartoonist, illustrator, and design professional. Her interests include surrealism, retro design aesthetics, true crime, 70s and 80s horror, psychology, cassette futurism, and birds. She lives in central Illinois.

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I, Lutzbug, am the originator of Krazy Noodle Massacre. Sometimes I ask friends to read over the script and check for errors, but I'm the only one who draws and writes it.

I have no plans to get a larger crew on board. Since this comic is a deeply personal hobby that keeps me sane, the idea of hiring people to help me create pages feels strangely invasive. However, there may be calls for guest art between chapters in the future.

I use an iPad Pro 11" and Procreate for most of my artwork. I write the script using a free screenwriting app called Highland and add lettering with Clip Studio Paint on desktop. The speech balloons and text are added at the sketch stage, which makes the layout clear to me during rendering. When I need to make more room for the speech bubbles, It's easier to adjust a sketch than it is to rework a finished painting.

I often make 3D backgrounds using a free browser room layout app called Roomstyler. It was originally created for people to design and decorate interior spaces for home and office, but turned out to be a great resource for making comics. I build the rooms with the premade assets included in the app, pan the camera to get the angles just right for the scene, export the renders to my iPad, and loosely trace them. I don't strictly adhere to the 3D background; I adjust it while sketching as needed and add extra details that didn't exist in the render. Using Roomstyler has saved time and helped my work gain some much-needed realism. I've mapped out Gideon's entire house with this program.

I used to draw this comic entirely by hand on Bristol board using markers, a quill pen, and India ink. Chapter 1, Intermezzo 1, and the first five pages of Chapter 2 were completed using traditional media. The transition to digital art begins on Chapter 2 Page 6. Note that this page contains heavy crosshatching that isn't present in the rest of the comic. I inked it using pen and paper because I wasn't used to drawing a page start to finish on the compter yet, and I wasn't sure if my digital shading would stand on its own.

It often took me months to finish one page with traditional tools. Working digitally has shaved hundreds of hours off my process.


The first chapter of the comic was lettered with a Blambot font called Digital Strip 2. Later on, I decided that I wanted to use a font that matched with my art style more fluidly, so I made one of my own.

From Chapter 2 onwards, I've been using a font that I created with Calligraphr, which turns your handwritten letterforms into a typeface. However, I haven't had much success transforming my shaky handwriting into readable type, so I needed to reference a preexisting font. I used a 100% free font called VTC Letterer Pro as a base because the license states that you can do anything you want with it. It's free to distribute, share, remix, use commercially—
whatever you wish except resell the font file itself. VTC Letterer Pro has some issues—it's a little bit too thick and is spaced too tightly, which gave me a good opportunity to improve upon it.

I traced over the letterforms with a thin liner brush on Procreate, changed the shape of some letters, exported the files to Calligraphr, and then adjusted the spacing and kerning. I also created a bold version of the font because VTC didn't have one. Even though my font isn't completely original, it meshes better with my artwork than a prepackaged typeface because the hand that drew the letters is the same one that drew the art.

Here's a sample of a word balloon lettered with VTC Letterer Pro (left) compared to one lettered with the font I created (right).

Speech balloons containing the text "I asked him if he was part gopher."

Sometimes I use a prepackaged font for emphasis, especially when a character is shouting. The font choice varies, but I tend to fall back on Full Bleed by Blambot. For sound effects, however, I like to draw them straight onto the canvas because it feels more expressive.

The font I created is not available for download. Sorry.



When I first started posting Krazy Noodle Massacre, the lettering was done entirely by hand in a super-quirky style. I've received many questions about why I replaced it with computer lettering.

  • I received numerous complaints about it being difficult to read. 

  • It was hard to edit dialogue. 

  • It took forever.

  • It was destroying my wrist.

  • Using a font makes my work more accessible to not only my readers, but also myself.

Partly because it's the most natural way for me to work. However, I imagine my characters and settings in such vivid detail that I feel compelled to make them feel as real to others as they do to me. I feel the most satisfied when I make an atmospheric page that looks the way I imagined it. Although it does take awhile, I feel good about it when it's done. I've been working on techniques to cut back on time without sacrificing quality.